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Copyright, 1893, by J.*B. Young. 







































































































































































































































































E feel sure our readers who visited the 
World’s Fair and saw the many beautiful 
specimens of foreign and domestic embroideries, 
not only experienced a thrill of patriotic pride 
when they saw what a creditable showing was 
made by our own land, but must have become infatuated 
with a strong desire to produce some similar beauties 
for her own home. Our aim will be to give, in concise 
form as possible, the choicest ideas of representative nations, supplemented 
with many original drawings that can be utilized in the home or made up 
for sale. The writer is aware that many doubt their ability to learn from 
book instructions, but feels confident that a glance at the full-page engravings, 
in which all the stitches used in making a design are illustrated, and at the 
explicit instructions will dispel that fear, especially when the perforated 
patterns are furnished, the shade number of the silks given and the parts to 
be shaded indicated in the illustration. 


INSTRUCTIONS FOR FOLDED BREAD-TRAY DESIGN. 

We must first stamp the design on heavy twilled linen, using the Black 
Liquid Stamping . It is made by putting a te3.spoonful of lamp black into a 































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Mi nn/in mnimimiinii„, j|H 


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Perforated Patter^ 16X16 

15 <p 

J B YOUNG & CO . 

BUFFALO. N.y. 

































































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four-ounce bottle of benzine or gasoline. This makes an excellent stamping, 
as it dries immediately and will not rub off, and the patterns need no 
cleaning. It must be kept corked and away from the fire. It is used as 
follows: Take an empty spool (plug up the hole with wood) and make a 
distributor, by folding two or three ply of felt over one end, leaving the felt 
long enough to overlap part of the side of the spool, securing the felt to the 
spool by winding it with twine. You now place the felt end of the spool to 
the mouth of the bottle, and tip it upward a number of times till the dis¬ 
tributor is well saturated. Now place the perforated pattern upon the mate¬ 
rial to be stamped (smooth side up) and rub the saturated distributor over 
the perforations. 

To make a double folded bread-tray, large size, we will need two pieces 
of linen each 16x16. The under piece has the wheat spray stamped on it, as 
shown in the inside cut, and the upper piece has the four corners folded in 
so as to form a sort of envelope, and the motto is stamped upon one of 
these folded-in corners. Use for the stems and leaves a medium shade of 
yellow, 2014. In working the leaves be sure to give the stitches a slant 
upward from the stems , as shown in the engraving. Use a single thread of 
Filo when working the stems and leaves. In working the heads use a 
coarser needle in which you thread four strands of a darker yellow, 2015. 
The Filo is first brought up at the bottom of the grain; now insert the needle 
at the point of the grain and bring it partly out at the bottom (see cut) and 
the silk is wound around the needle eight or ten times, now catch the coil 
between the thumb and forefinger of the left hand and with the right hand 
draw the needle through the coil, being careful not to let the coil unwind, 
and carry the end of the coil shown at the point of the needle around to the 
top of the grain. The other half of the grain is made in the same way. 
When winding the needle, place your thumb on the eye end of the needle 
and your forefinger under the point, thus holding the linen between the first 
and second fingers. When working the leaves put the linen in a frame. 
The motto may be first tinted with chrome yellow, No. 2, thinned with tur¬ 
pentine and worked in outline, using orange shade of Filo, 2018, or a golden 
brown, 2163. These trays give an elegance to the table and are useful in 
preventing bread drying out, or for keeping hot rolls warm. Filo silk to 
work large size, 35 cents, silks for small size, 15 cents; two pieces stamped 
large size, 55 cents. 


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INSTRUCTIONS FOR WORKING SCOTCH THISTLE DESIGN. 

# 

The model from which our engraving is made is 19 x 20 inches, which 
is the full size of one of the prettiest center pieces seen at the World’s 
Fair. It may be worked upon German Embroidery Linen No. 52, or Satin 
Damask. It will be needless to mention the various uses to which such an 
artistic arrangement may be applied; the composition being such that parts 
of the design can be used separately. One of the pretty variations we have 
made was a large circular Center Cloth made by stamping only the blossoms, 
and combining them in the manner indicated by the small engraving of 
pinks seen in the center of the thistle illustration. By alternating the 
mauve and pink blossoms the effect is beautiful indeed. The corner thistles 
stamped on Silk Sheeting, Gobelin, or Mosaic Oatmeal Cloth for table 
covers is very pretty. Having stamped the design upon the cloth by using 
the liquid, explained on page 72, we must now select the shades of Filo 
Silk, using Brainard and Armstrong’s shade card. We will need for the 
stems and leaves, silver grey-green shades peculiar to the Scotch Thistle, 
numbers 2392, 2391 and 2390 A. For the pink blossoms we will need four 
shades, 2475, *2474, *2471 and 2470 A. For the mauve blossoms indicated 
in the engraving 2233, 2232, 2231 and 2230. (The publishers will supply 
these shades at reduced rates, 40 cents, sufficient to complete the large design, 
19 x 20.) Before commencing work it is a good idea to arrange the silks so 
that they will not become tangled. Cut eleven pieces of pasteboard in strips 
11 x 1 in. wide; cut a V-shaped piece from one end; now cut the skein 
and place into this notch, and having wrapped a piece of paper around the 
silk and pasteboard at each end, place a rubber band around the paper. 
Now thread a needle with one strand of Filo medium shade of green 2391, 
and work the stem in the manner indicated at the right hand lower corner, 
putting the needle in at 4 and bringing it out at 5, giving the stitch the 
upward slant as illustrated. Now work the stem of the mauve thistle in the 
same way, but using the darker shade of green 2392, This done we will 
direct our attention to the leaves. Begin by putting in a single outline vein 








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74 


@o lumiian ^j)ecozalii?e (flzi. 


by using two threads of the darkest Filo, bringing the point of the needle 
out below the end of the last stitch, as shown in the engraving, so as to 
make the outline heavy. Now with the dark shade (single thread) begin 
working the edge of the leaf with a long and short stitch, making the 
stitches pretty long, but not so long as to reach the center vein when work¬ 
ing the widest portions of the leaf. The reader must bear in mind that the 
perforated pattern from which we are working is three times the size of the 
engraving; consequently the stitches would be too long and loose were we 
to work from the outside tips to the center, hence after working a row of 
long and short stitches around the edge, we are obliged to fill in another 
row of stitches to complete it to the central vein. Use the dark shade from 
stem to D. The medium shade from D to M, and the lightest shade from 
M to L, as indicated in the engraving. Notice that the dark shade is shown 
darker in the engraving. Use the two light shades for the small leaves near 
the blossoms, and use less of the dark shade when working the leaves of 
those marked “pink” in the illustration. The leaves of the other thistles 
are worked in the same way, but the shading is varied. It is well to notice 
that the order is reversed at each diagonal corner, the pink blossom at the 
left-hand upper corner occupies the same position as the mauve blossom at 
the lower corner. As the color of each blossom is marked in the engraving 
it will be impossible to go astray. The stems and leaves worked, we will 
direct our attention to the blossoms. We will begin with the mauve 
blossom, lower right-hand corner. There are four shades, and the spaces to 
be covered by each is shown by the letters to the right of this blossom. 
The letters V D and D, mean very dark and dark; that is, the lowest lines 
are to be worked with long, straight stitches, using the darkest shade of 
mauve, No. 2233, and directly between the row of stitches you fill in with 
the next darkest shade, 2232. Notice the unworked blossoms, that they are 

divided into three divisions. The middle division in the worked blossom is 

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marked D and M D, meaning that the dark shade 2232 and the medium 
dark 2231 are used to fill in this second division, blending the lighter shade 
of dark into the very dark. The third division is marked M L and L, 























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76 (SWu mtian 3 ) ecozaiwe Cizl. 


meaning medium light and light, and is worked in the same way, using 2231 and 
2230. The stitches need to be taken close so as to cover the foundation. 
Work all the blossoms that are marked “Mauve” in this way, but for the 
small middle thistle use less of the darker shades. 

The pink blossoms are worked in the same way, using four shades of 
pink—2475, * 2 474> *2471 and 2 47° A. 

The inverted V-shaped stitch used to fill in the bulb part of the 
blossom must now receive attention. Our illustration gives a clear idea of 
how it is done; bring the thread up at 1, insert the needle at 2, and bring 
it out on top of the thread at 3; now pass the needle down at the point so as 
to secure the stitch. Now bring the thread up at the left lower corner of 
the next inverted -V and proceed in the same way, making the stitches quite 
close; use a double strand of Filo in the needle. Use the medium shade of 
green for the upper part of the bulb and the darker for the lower part. 
Use the medium and light shades for the bulbs of the pink blossoms. 
These shades run very close, and if the design is properly worked, it will 
look more like a painting. As the method of working is simple and the 
shade of each blossom is indicated, we trust no one will be afraid to attempt 
it on account of its marked beauty. The center piece is finished by drawing 
out 6 or 7 threads an inch and a half from the edge of the work, and hem¬ 
stitch the outer edge to the lower edge of the drawn out part. 

Perforated pattern of circular thistle center-piece (blossoms and stems) 
16 x 16, 15 cents; stamped on art linen, 30 cents. Thistle design illustrated 
in engraving stamped 19 x 20, 50 cents. 

INSTRUCTIONS FOR CLOVER CENTRE-CLOTH. 

We are glad to present our readers with one of those popular ribbon 
designs, the simplicity of which is one of its leading charms. Our engraving 
shows the right size for a butter Doylie, but for a centre-cloth the size is 
14x14 inches. There are many purposes to which a design of this sort 
can be adapted with telling effect. It is pretty for hankerchief sachets, box 



















I 



lids, etc., painted or worked on satin. Parts of the design may be painted 
on new year’s cards, having some such motto, painted in gold or silver letter¬ 
ing as: 

“ The bee from blossoms sweet extracts good cheer, 

So draw thou pleasure through the coming year.” 

We will give explicit instructions for working the center-piece and Doylie, 
and leave it to the ingenuity of our readers to make other applications of it. 

Stamp it according to liquid process on page 72. It is worked entirely with 

Filo silk. For the leaves we will need three shades of clover green, Nos. 
2393, 2390A. and 2390. For the blossoms, three shades of clover pink, 

*2242, 2240A. and 2240. (We would advise our readers getting the new 

household shade card, mailed by the publishers, for 12 cents, or sent free to 
any one ordering a dollar’s worth of silks or perforated patterns. It shows 
over 300 shades, and explains all the latest embroidery materials). Our 

illustration shows two methods of working the ribbon part of the design. 

• 

One is simply button-holed with the lightest shade of green, 2390, having 
the button hole edge face outward, so as to permit the linen to be cut away 
without fraying. The inside edge of the button-holed ribbon is outlined with 
the same shade. The needle is inserted at 8 and brought out at 9, as 
shown in the illustration. The other method of working the ribbon is shown 
at the right-hand lower corner. The outer and inner edge of the design is 
first outlined, using the lightest shade of Filo, *2240, and then filling in the 
entire space between these pink outlines with white Filo, using a sort of 
running stitch taken parallel with the outline. Merely catch the needle into 
the linen, then take a long stitch forward and again merely catch the needle into 
the linen, and so on all around the design; use a double strand of Filo in 
the needle. Five or six rows of these stitches will fill in the ribbon-like 
border. This method of working gives rather a better representation of rib¬ 
bon, and is a saving of silk, as nearly all the silk will be on the upper side. 

The leaves are worked with two shades of Filo, single thread. Com¬ 
mence at the outside edge and fill in a row of long and short stitches, using 
the dark shade of green, 2393. The method of taking the stitch is illus- 






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Clover- Blossom Centre-Piece 


Perforated Patter^ 14X1 4 
15 .£ 

J. D. YOUNG & CO., 

BUFFALO, N.Y 


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trated in the partly finished leaf. Insert the needle at 4 and bring it out at 
5. Notice that the needle is brought out closer to the last stitch towards 
the center of the leaf than at the outer edge. In order to give the leaf a 
natural appearance the stitches must converge towards the centre. Now fill 
in those centre lines with the medium shade, 2390A. This gives the centre 
portion of the leaf that light grey-green appearance seen in the natural leaf. 
Nov/ fill in the remainder of the leaf with the dark shade. Those parts 
shown dark in the finished leaves show what is to be filled in with the light 
grey-green shade. In the smaller leaves just below the blossoms use more 
of the lighter shades, 2390A and 2390. The blossoms are worked in the 
clover stitch. It is made in the form of an inverted V. The illustration gives 
a clear idea of the method of working. Begin at the top of the blossom with 
the lightest shade of pink, *2240, using a double strand in the needle. The silk 
is brought up at 1, now insert the needle at 2 and bring it out at 3 on top 
of the thread. Now pass the needle down at the point so as to keep the 
stitch in place, and bring it up at the left side of the next inverted V, and 
repeat the operation from side to side until all the markings are filled in. 
But when you have worked one-third of the way down, begin using the 
medium 2240A, and in the lower part use the darkest shade 2242, and put 
in some of the dark shade just inside of the lower rows of the medium shade, 
making the V a little smaller. The object of this is to blend the shades so 
that there will be no striking contrast. Now thread your needle with the 
medium shade of green, 2390A, and take a few short stitches in the middle 
of the inside V, thus covering the remainder of the linen, and giving a 
natural finishing touch to the blossom. When the design is worked upon 
satin or material that is not to be washed, a pretty raised effect can be given 
the blossoms by first covering them over with a series of long zepher stitches 
in light green, and then working the clover stitch over this green foundation. 

The large clover leaf tray, of which a small engraving is given inside 
the centre-piece ” illustration, makes a very pretty companion piece, and is 
worked in the long and short button-hole stitch in the clover greens given 
for the centre-piece, having the button-hole edge at the outside of the 


















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0ofutnSian 3)eco zalwe (9Lt. 


design so as to permit the linen to be cut away, using a double strand of 
Filo or a heavier silk called Roman floss, or it may be worked in white. 

The tea cloth corner shown is also very pretty for lunch cloth corner. 
Perforated patterns of these designs will be furnished at a trifle above cost 
of manufacture, as per prices given in the engraving. Or we will furnish 
large tray cloth stamped upon heavy linen for 50 cents, one dozen skeins 
of Filo to work it, for 48 cents, in clover colors or white, so that at an out¬ 
lay of 98 cents our patrons will possess a tray cloth that would sell when 
completed for $6.00 or $8.00. The large clover centre-piece 14 x 14 stamped 
on best satin damask, 25 cents. The 9 shades of Filo for working clover 
centre-piece costs 36 cents. The same design on damask, Doylie size, 15 
cents. Proper shades to finish Doylie size, 20 cents. 

INSTRUCTIONS FOR PAINTING CLOVER BLOSSOMS. 

The spray and double bow knot at right lower corner looks so pretty 
painted for new year’s card, that we cannot refrain from giving directions 
for its treatment. Outline the bow ribbon in silver paint, and in the four 
longest parts of the bow knot letter in gold some such simple verse— 

“As hidden sweets to the busy bee, 

So yields the year its joys to thee.” 

Draw in a few extra sprigs of clover and grasses, and paint one or two 
of the blossoms white by way of variety. In painting the blossoms in oil 
it will be necessary to lay them in first in a general tone of light and shade, 
and not attempt to paint each minute blossom, which would be almost 
inpossible and the effect would not be pleasing. For, all flowers in 
clusters are painted in masses, the details being put in afterward by accenting 
the lights and shadows. Begin by laying in this general tone of either light 
or dark. When you represent the blossom in shadow use the following paints: 
silver white, madder lake, raw umber, ivory black, and a trifle of cobalt and 
burnt sienna. In the lighter part of the blossom use more white and a 
little raw umber. After thus laying in the general form in masses of light and 

















shade, you can put in detail enough to give the characteristic features of the 
blossoms. The deep accents in the centre of each little flower cup is put in 
with madder lake, burnt sienna, cobalt and a trifle ivory black. The lights 
may be added now in well defined touches, using white, a little vermilion 
and madder lake toned with a trifle black. In the natural blossom or well 
executed studies you will notice a delicate half tint , which apparently unites 
the lights and darks, This greyish middle tone is painted with white, yellow 
ochre, raw umber and a very little ivory black. White blossoms are treated 
in like manner by laying them in first in a general tone, the lighter portion 
with white, yellow ochre, raw umber and black; the shadows with white, 
burnt sienna, raw umber, madder lake and black with a trifle cobalt in the 
half tints. The leaves are painted with antwerp blue, yellow ochre, burnt 
sienna, white and ivory black. In the lighter tones substitute light cadmium 
instead of yellow ochre, and shade with raw umber and black. The greyish- 
green markings seen in the leaves (shown dark in the engraving) are painted 
with white, yellow ochre, raw umber, antwerp blue, burnt sienna and black. 
If a few grasses are thrown in they may be painted in the same colors. 
If painted in water colors the same colors will be used with these exceptions. 
For madder lake substitute rose madder, lamp black for ivory black, Chinese 
white for silver white, and sepia is used in shading instead of raw umber. 

INSTRUCTIONS FOR ORANGE BLOSSOM CENTRE-PIECE. 


The colors needed for this graceful design are three shades of light 
yellow Filo silk, 2013, 2012, 2010, for the blossoms and button hole edge. 
For the leaves, 2171 for the light shade, and 2170A for the dark shade. 
The design is very effective on white satin sheeting for a covering for a 
small round table; but the nature of the design makes it specially appropriate 
for a fruit centre-piece, worked upon heavy twilled linen or satin damask. 
For a wedding gift nothing more charming could be desired. Having 
stamped the design lightly from the pattern furnished by using the Black 
Liquid Process (page 72), begin by working the button hole edge with the 

























82 


(§oCuwfcwm ^ecozaiiDizi. 


medium shade of yellow, 2012, using two strands of silk in the needle, and 
have the button hole edge at the outside edge of the design, as shown in 
the engraving. The needle is inserted at 1 and brought out at 2 on top of 
the thread. This done we will proceed to the blossoms. The reader will 
notice that all stitches employed are shown in their different stages of com¬ 
pletion, and the shade of each blossom is indicated by the letters seen in 
each. Thus those marked D are all to be worked in the darkest shade of 
yellow, 2013. Those marked M are medium 2012, and L with lightest shade 
jo 10 (almost white). The method of working is illustrated in the unfinished 
blossom marked 4, Begin by working a row of long and short stitches 
around the blossom, making the stitches longer as you get near the centre 
of ^he petal. Now fill in the middle of the petal with the same shade, pas¬ 
sing the needle down between those of the first row. Be careful to keep the 
stitches in the same direction as those of the first row. The stitches should 
converge to the centre so as to preserve the form of the petal. The needle 
is inserted at 5 and brought out at 6. The centres of each flower are filled 
in with French knots, illustrated in the next blossom marked 7. The 
darkest shade of green is used for this. The thread is brought up at the 
point where the knot is wanted, and the Filo is wound around the needle 
once; the needle is then passed down at the point where it was brought up. 
The thread thus wound is drawn towards the point of the needle before the 
needle is drawn through. In working the blossoms, knots and leaves, use 
but one thread of Filo in the needle at once. A double strand would fill 
in quicker but would not be so pretty. The leaves are worked in the long 
and short stitch, using the darkest shade half way up the leaf on each side, 
and use the light shade for the upper portion (see illustration). The central 
vein and the stems are worked with the darkest shade of green. The leaves 
are not worked solid but left as shown in the engraving. The centres of 
those blossoms having some of the petals blown off, are filled in with French 
! rots the same as if perfect flowers. The writer strongly advises that the 
reader use the shade numbers given, and thus get the shades peculiar to the 
orange blossom. Its beauty will be marred if experiments are made with 



































* 


84 


(Columbian ^ecozaiwe dzt. 


other shades. The publishers (J. B. Youn.g & Co., Buffalo, N. Y.) are 
desirous to aid you in making first-class work, and will supply at reduced 
prices the silks for working in the right shades, and exact quantities. For 
large centre-piece 16 x 16, the silks cost 35 cents. The same stamped on 

best satin damask, 30 cents; same design stamped Doylie size, 8x8, on 

damask, 15 cents. Silks for Doylie size, 20 cents. 

INSTRUCTION FOR VENETIAN EMBROIDERY. 

% 

This class of work was so much admired at the World’s Fair, that we 
fee, sure our readers will be interested in knowing how to do it. It is work 
that can be used in numerous ways, but the prettiest effects were seen in 
commode and dresser scarfs, worked upon a strip of white linen as wide as 
the top of a dresser, and long enough to fall a trifle over the end. The ends 
were finished in yellow outline silk, and the design consisted of one corner 
of our illustration stamped perpendicularly three times along the end of the 
scarf and worked in the same way as the cushion we describe, except that 

the button holing was worked over a heavy outline of Roman floss instead 

of butterfly cord. Our illustration shows one-half of the design, full size 
for a toilet cushion. We have selected this design because it can be so 
easily varried as to be available for so many purposes. For instance it 
makes a lovely cover for small centre table by stamping the square first, 
and then stamping the corner section at middle of each side, thus falling 
gracefully over the edge of the table. Or the design enlarged to twice the 
size, 18 x 18, makes a beautiful ottoman cushion or cover for larger table. 
Having stamped the design upon satin damask or art linen let us learn 
how to work the cushion, then we will have no difficulty in adapting parts 
of the design to other puposes. For the toilet cushion it will take a dozen 
skeins of Japan outline wash silk, in white or yellow, or six in each shade 
as desired, and six and a half yards of medium butterfly or Roman cord. 
(The publishers will supply the dozen silks for 35 cents, and cord for 15 
cents). 




V. V. \_ \- \_ V 
























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86 


of unman ^V&cozahm cXzi. 


Begin by button holing the entire design over the cord, using white 
silk for this. Make a hole in the damask at B and pass the end of the 
cord down through and fasten on the under side. The cord and button-hole 
stitch are illustrated at A. The needle is inserted into the cloth under the 
cord and brought out on top of the silk thread. Be sure to have the button 
hole edge towards the outside of the design and also face inward at the 
wheels, for the damask is to be cut away from the outside edge and also 
under the worked wheels. When you have button-holed the cord till you . 
come to C, cut the cord and pass it down through a hole made with an 
eyelet punch. The button holing done, fill in the parts between the button 
holing with the honey-comb stitch illustrated and marked D. Honey-comb 
stitch is made thus: the needle is brought up at i, then inserted at 2 and 
brought out at 3 on top of the thread. Now insert the needle slightly under 
the middle thread of the next honey-comb and bring it out on top of the 
thread in the same manner. Work from side to side until the parts are 
filled in. A glance at the illustration in part marked D will make it plain. 

In some portions of the design it is necessary to change the direction of the 
stitch. When that is the case the outside honey-combs should be made 
larger than those towards the inside. Notice this feature in portion partly 
worked. All the parts marked D are to be filled in with this stitch, also the 
corresponding portions in each of the four sections of the design. This is 
a very rapid as well as economical stitch, there being but one stitch on the 
under side to three on top. Now put the work in an embroidery frame and 
direct attention to filling in the wheels. The method is illustrated at E. 
First lay down a foundation of four threads, crossing each other in the 
centre. Now thread a needle with silk and by taking a sort of loop stitch, 

fasten it securely in the centre, and begin a sort of over darning all around. 

✓ 

The silk is first brought up under spoke 4 and then passed back under 4 
and 5. Then pass the needle back under 5 and under 6, and so on round and 
round, thus taking an extra turn on each spoke and giving it a raised appear¬ 
ance. It is best to use the eye end of the needle in doing this darning, other 
wise the point of the needle would be catching into the cloth under the wheel. 




























When the wheel is filled in nearly to the edge, then pass the needle up one 
of the spokes to the centre , and thus fasten the silk securely without the 
knot. All those parts illustrated as having threads crossing each other in 
the centre are to be filled in with wheels in this way. The linen is after¬ 
wards carefully cut away from back of these wheels quite close to the button¬ 
holing. It is a good idea to use white for button-holing the cord, and 
yellow for the wheels and honey-combing. The effect is pleasing indeed, 
though some prefer the entire design in white. The parts marked F are 
filled in with a sort of herring-bone stitch, using yellow. (See illustration of 
stitch at F). Those parts marked G are simply outlined. 

Our engraving shows put one-half the design. Each section of it is 
worked the same as the part in which the stitches are illustrated. Having 
cut the linen away from the outside edge and from back of the wheels, and 
ironed it on wrong side, it is ready for your cushion. This class of work 
when used for cushions is spread over a green or yellow covering of china 
silk or satin. If the reader desires, the cord may be dispensed with and the 
entire design button-holed over a strand of Rope silk as shown in the small 
centre circle marked H. Cushion 9x9, stamped on satin damask or art 
linen, 15 cents. Perforated pattern large size for Ottoman, 18x18, 20 cents. 
Perforated pattern for dresser scarf end, Venetian embroidery, 12 cents. 

TREATMENT OF AUTUMM LEAF STUTY, SORRENTO EMBROIDERY. 

Sorrento embroidery is a charming effect in which the design is first 
tinted with oil paints thinned with turpentine, and then work the edges in 
long and short button-hole stitches. It is used mostly on bolting cloth, linen, 
kid, chamois, etc. It is very pretty for picture or easel drapes, tea cloths, 
sofa pillows, chair sachets, tray cloths, Doylies, etc. The designs are con¬ 
ventional or scrolling, completely covering the article or forming a border. 
The beautiful study of maple leaves shows clearly the method of working 
and what pretty effects are possible. 

Having stamped the design upon bolting cloth and placed a sheet of 
tea paper under it, tack the four corners to a smooth board. You now go 
over the entire design with a coating of chrome yellow No. 2 thinned with 



















/ 



turpentine, using a sable brush No. 10. Use little butter plates for holding 
the paints. The turpentine is poured on the bottom of the plate, and th j 
paint kept on the side of the dish; the brush is first wet in the turpentine 
then rolled in the paint, and applied in long strokes to the bolting, making 
an even wash all over the leaves. Now go over parts that are shown red in 
the study with a coating of geranium lake in the same way, using less paint 
as you near the edges. The parts shown green are treated in the same way, 
using chrone-green No. i, and No. 2 for the darker shades. All paints thus 
thinned with turpentine or alcohol will stand washing and are greatly used 
instead of Paris tints. The instructions given apply to Paris tints as well. 

Do not attempt much detail in tinting, for the ten shades of Filo silk 
with which the entire design is button-holed will bring out all the finer 
shadings. For the long and short button-holed edges you will need the 
following shades of Filo: for red, orange and yellow tints, Nos. 2066, *2065, 
2021, *2019, 2017 and 2015. For the greens, 2453, 2452,2451 and 2458. 
For the brown scroll, 2163. Begin with the large leaf, using the darkest 
shade of red and work to where the next darkest shade begins in the study, 
and so on till you reach the point of the leaves where the yellows blend 
into the lightest shade of green. Use a single strand in the needle, and 
take the stitches quite close and keep them slanted in the direction indicated 
in the colored study. A needle is placed in the unfinished leaf showing the 
proper slant. The needle is brought out on top of the thread, forming a 
button-hole edge around the outside of the leaf. Now begin with the light 
shade of green at the top of the leaf and work down the lower side, chang¬ 
ing the shades till you reach the darkest shade of green near the stems. 
The other leaves are worked in the same way, following the shading in the 
study. The stems and veins shown in the reddish portions of the leaves are 
worked in second shade of red. The veins in the green portions are worked 
in the lighter shades. The publishers (J. B. Young & Co., Buffalo, N. Y.) 
will supply the Filo, sufficient to complete the design, for 25 cents. The 
strip of bolting is now sewed to the end of a yard of pale water-green 
China silk, and finished with a silk fringe to match. 







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iCefeton Qm6roic|erLj. 


89 


SKELETON EMBROIDERY IN WHITE OR COLORED FLOSS. 

The two illustrations of Doylies, “Horse Chestnut Leaves ” and “The Sham¬ 
rock,” are but few examples of the many conventional and natural designs that 
can be most beautifully represented by the Skeleton Stitch. This work has lately 
become very popular, owing, no doubt, to the fact that it is washable, durable, 
easily done, and can be used for a variety of decorative purposes. One of the 
prettiest effects the writer remembers seeing, was a wall banner of bolting cloth, 
having a spray of iris worked in white floss, with the skeleton stitch. It is but a 
variation of the button-hole stitch. The length of the stitches and the direction in 
which they are taken being governed by the nature of the design or flower under 
consideration. This same stitch is used in Sorrento Embroidery, where the edges 
of the design or flower are button-holed with irregular stitches with rope silk and 
the inner portions of the leaf or flower, are tinted in with Paris Tinting a shade or 
two darker than the silk used for the edges (oil paints thinned with turpentine in 
the manner described in chapter on “ Moleskin Velvet Painting,” page 58, answer 
as well as the Paris tints). 

METHOD OF WORKING HORSE CHESTNUT DOYLY. 

Procure the best Satin Damask Linen and stamp the outlines upon it. This 
can be done by laying a piece of impression paper upon the linen (dark side 
facing the linen) and place both under the engraving. You now go over the 
engraved outlines with a tracing point or knitting needle, and you have the out¬ 
lines traced upon the linen below. But the quicker and better way is to use the 
perforated patterns, which the publishers supply for five cents each. You have 
simply to rub a black stamping liquid, made by putting a very little lampblack into 
a bottle containing benzine, over the perforations, and you have it stamped so that 
it will not rub off. Having gotten the outlines accurately upon the material, you 
begin at the outer edge and button-hole the design all around, alternating short 
and long stitches, as shown in the illustration, being careful to give the stitches the 
inward slant shown. The work is very simple, but must be worked carefully, so 
that the stitches will be regular. Use the lightest shade of yellow Roman Floss 






























HORSE-CHESTNUT DOYLY. 




































































































































- ' g^iCefeCon S:m6roic}enp - * 91 

for the outside edges, and use the dark shade of yellow or orange for the veins. 
It will be seen that the veining stitch is the regular stem stitch, and is so simple, 
that by a glance at the engraving it will be understood by any one. Having 
worked the outside edges of the leaves and filled in the veins, this completes the 
embroidery work. You have now to cut away the linen from the outside edge of 
all the leaves, [the same as the linen is cut away from the finished leaf shown in 
the engraving,] and your doyly is completed. The purrled edge of the stitch 
must always be at the outside edge of the leaf, so that the linen can be cut away 
close, and the edges not fray out. If preferred, this design can be worked 
throughout with white Roman floss or two shades of green. The publishers can 
furnish this doyly stamped on the best satin damask linen with Roman floss for 
working, for thirty-five cents. Perforated patterns of other doyly designs at 
five cents each. 

DIRECTIONS FOR WORKING SHAMROCK DESIGN. 

The working of this graceful spray is so similar to the preceding one that 
detailed instructions will be unnecessary. In working this design, a finer out¬ 
line embroidery washing silk can be used than the Roman Floss, hence we 
recommend Wash Silk instead of the Roman Floss, as in the preceding one. 
You will require three shades of clover green—light, medium, and dark. The 
stems and veins are worked with the darkest shade, and by working each 
cluster of leaves slightly different, that is by varying the shades, a more 
pleasing effect can be produced. When the embroidery is completed, cut 
away the outside linen from the outer edge of design, as shown in the cor¬ 
ner of the engraving. The correct slant of stem stitch is here illustrated. 
It will be observed that the needle is inserted at 1 and brought out at 2. 
A perforated pattern of this spray will be supplied for five cents, or stamped 
on best satin damask (linen) and materials for working (three skeins of best 
wash silk), forty cents. This design looks very pretty when worked on 
linen lawn with Honiton braid, as described in succeeding pages. 




















SHAMROCK DOYLY. 






























































































































































JfoniCon f^omcm Qm6t‘oic^er^. * » 93 

HOW TO WASH EMBROIDERED LINENS. 

4* 

Avoid scalding water, common soap, washing powders, and hard wringing. 
Do not fold or roll up the article while wet; but use warm suds made 
with white castile soap, a pure curd soap. Rub lightly, rinse thoroughly, dry 
quickly. The Smithograph is a desirable article, by means of which any 
embroidery designs, for doylies, Roman embroidery, outlining, etc., can be 
traced directly upon the linen from the engraving; either the same size or 
as much larger as desired. It consists of four bars of wood, resembling a 
slate frame, having one bar left long. A pencil is inserted at the long end, 
and a steel tracing peg is fixed at one corner, so that you have simply to 
follow the outlines of the engraving with the peg, and the pencil in the long 
bar will reproduce the design directly upon the linen. You thus do your 
own stamping or sketching, without a pattern or previous knowledge of draw¬ 
ing. The publishers mail a Smithograph for forty cents. 



HIS work takes its name from the fact that it is a pretty com¬ 
bination of Roman embroidery and Honiton lace; many of the 
filling-in stitches being adapted to the ordinary Roman embroidery. 
It will be seen, from the series of illustrations we give, that the 
work is quite easy, consisting simply of laying Honiton lace over 
linen lawn, silk, or satin, in various conventional forms, and 
button-holing the edges of the lace to the linen, which is then cut away from 
the outside edges and from the back of the lace and portions of the design. 
It affords such cheap, yet effective, means for decorating tumbler doylies, pin-cush¬ 
ions, toilet sets, handkerchiefs, etc., that it has justly become very popular. 





























I 



INSTRUCTIONS FOR PIN-CUSHION IN HONITON ROMAN EMBROIDERY. 

Our illustration represents the work done upon a piece of linen lawn 
cut about two inches larger than the engraving. You first turn the edges of 
the linen under about an inch all around, thus forming it into a six-cornered 
shape, as shown in the engraving. See that the linen is turned in sufficiently 
to form a double ply of linen all around where the outside button-holing is 
done. This gives a stiff foundation to the outside edges when they are cut away. 
You now cut a piece of Honiton lace, having sixteen sections, and baste this to 
the linen lawn with white thread and form a square all around an inch and a 
quarter from the outside edge of the linen. See second row of lace in engraving. 
Now cut four pieces of lace, having fottr sections in each piece, and baste these 
at the outside ends and sides in the form of the letter M, thus forming triangles 
with the two middle sections of lace in the sides and ends of the square. Then 
cut four pieces of lace having two sections in each, and baste two of these pieces 
at each inside corner of the square, thus forming four circles, as shown at 2, 3 and 
5. Now. thread a fine needle with a shade of light green or white Japan wash 
silk, and button-hole stitch the outside edges all around, having the purrled edge 

of the stitch outward, as illustrated at 4 ; and vary the length of the stitches so 

• * 

as to produce the serrated edge indicated by the pencil line shown outside of the 
lace. Your next work will be to button-hole all around the inside edges of the 
lace; but this time have the purrled edge of the stitch face inward on top 
of the edge of the lace. See stitch illustrated at 2. This done, we will now direct 
our attention to the filling-in stitches. The four circles are to be filled in with the 
stitch illustrated at 3 and 5 and at the completed circle. No. 5 represents a foun¬ 
dation of sixteen bars [threads of silk] which are first laid down from side to side, 
crossing each other in the center. No. 3 illustrates the darning stitch used for 
filling in the wheel. Notice that this stitch is worked upon four of the bars, and 
that there are four of these sections made in each wheel as shown in the com¬ 
pleted circle. Notice that the needle is passed over the first thread, under the 
second, over the third, and under the fourth. When you have the section nearly 
filled, you darn only upon the two center bars, as shown in the finished wheel 




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Each of the triangles are filled in by putting in three bars running from the cor¬ 
ners to the center of the base and sides of the triangle, and fastening them where 
they cross in the centre. [See i.] The edges of the lace in all the circles and 
triangles should be over-stitched, as shown in triangle next to i. The portion in 
the center of the cushion is stitched all around with the same stitch as illustrated 
at 2. Having filled in all the circles and triangles, you now cut away the linen 
all around close to the outside edge of the cushion, and also from the back of the 
circles, triangles, and lace. See cut-away portion outside of the finished circle. 
The finished circle and the two triangles No. i show the linen cut away from 
behind. All the linen between the inside and outside rows of button-holing is cut 
away from each circle, triangle, andfrom behind the lace. 

This done, it is ready to be applied to the cushion, which should be round, 
and filled with whatever material is preferred. An outer covering of satin is 
sewed on smoothly over the filled cushion, and the Honiton-Roman embroidered 
design is sewed over the satin. The effect is very pleasing, as the colored satin 
shows through those parts where the linen has been cut away. 

INSTRUCTIONS FOR WORKING DOYLY NO. I. 

Notice that the Honiton lace used in this design is a different pattern 
from that used for the pin-cushion, although any similar pattern of the same 
size will do. Cut the linen lawn a little larger than the engraving, and 
turn the edges under and baste so that there will be two ply of linen under 
the edges of the lace. This will give the cut-away edges a firmer founda¬ 
tion when cut away. Now cut a piece of Honiton lace, having twenty sec¬ 
tions in it, and baste a row all around, as seen in the outside row of the 
engraving. Then cut off four pieces, having three sections in each piece, 
and baste these on to form the four circles seen in the center of each side 
and ends of the doyly. Now cut four pieces, having two sections of lace in 
each, and baste these at the inside of the four corners of the design, thus forming 
a circle at each corner. This done, thread a fine needle with white Japan 
wash silk, and button-hole all around the outside edges, in the manner described 
and illustrated for the pin-cushion, having the button-hole (or purrled) edge at 



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the outside, so that the linen may be cut away close to the edge and not fray. 
Make the stitches quite close and vary their lengths so as to produce the serrated 
edge at the outside. Follow the outside pencil line seen just outside the design. 
The finished circle at right hand lower corner shows the button-holing after the 
linen is cut away. 

Having finished the outside edges, you will now button-hole all around the 
inside edges of the lace, but this time you have the purrled edge of the stitch next 
the edge of the lace, and make two short stitches and one long, as shown at the 
inner edge of the finished circle. (The line just outside of these stitches should 
not have been shown in the engraving.) Your next work will be to fill in each of 
the circles with a wheel, as shown at the finished circle. Lay down eight branches, 
crossing the threads at the center. Fasten these threads at the center with 
a sort of loop stitch, but do not fasten them to the linen below , for this is cut 
away afterwards . You now begin filling in the wheel with a sort of darning stitch. 
(See illustration.) The needle is passed under branch 6, over 7, under 8, and over 
the next one, and so on all around, until you have the wheel half filled. Fasten 
the thread neatly into one of the branches. All of the circles are filled in the same 

■S. 

way; or the stitch described in the pin-cushion may be used in the side circles. 
You have now simply to cut away the linen from the outside edges, and from the 
back of the filled-in circles and back of the lace, and your work is completed. 
The Honiton lace, or braid, costs fifteen cents a yard, the same size as illus¬ 
trated in each design. The publishers will furnish any of these doylies, having the 
lace basted in the proper position on linen lawn, ready for button-holing, for thirty 
cents each. They can be worked with pale green or pink colored wash silk if 
preferred. This work is very pretty for handkerchiefs, or on satin for tidies or 
toilet sets. The Japan wash silk comes in large skeins and costs five cents each. 


INSTRUCTIONS FOR WORKING DOYLY NO. 2. 

Cut the linen lawn an inch and a half larger than the engraving. Fold under 
half an inch of the linen and baste. Now baste a row of lace (twenty sections) all 
around the linen, leaving half an inch between the outer edge of the lace and the 
outside edge of the linen. Then cut four pieces of lace, having two sections 





















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Doylie in Honiton Roman Embroidery 







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- in each, and baste one at each inside corner, to form the circle. Now, cut 
four more pieces, two sections each, and baste in position attached to inside 
edge of circles, shown in engraving. The illustration represents the inside 
and outside edges of the lace finished in button-hole stitching, as already- 
described. Notice that the filling-in stitches are different from the preceding 
one. Let us begin with the net stitch, as illustrated at the right-hand lower 
corner. You fasten three bars of wash silk to the edges of the lace; then 
these are crossed with three rows of knotted bars. The engraving represents 
the knot being made on the last bar. The thread is first passed under the per¬ 
pendicular bar and then the needle is passed through the threads of each bar where 
they cross, thus forming a sort of loop that holds the bars into place. The stitch 
at the left-hand lower corner requires a foundation of eight bars, crossing each 
other in the center. Fasten the bars at the center with a couple of loop stitches. 
Be careful not to fasten the bars to the linen, as this is to be cut away. In making 
the stitch here illustrated, the thread is first brought up between the two bars and 
then the needle is passed under the bar to the left and over the bar to the right, 
and the thread drawn fairly tight. (See illustration.) Now pass the needle under 
the bar to the right and over the bar to the left. Repeat this operation until 
you have the four portions filled to the extent shown in the engraving. The 
two stitches at the upper end of the doyly are made in the same way. It 

■A 

will be noticed that the inside edges of the lace in each circle are gone over 
with an over-and-over stitch. This can be done while laying down the founda¬ 
tion threads. Cut away the linen, as previously explained. 


Jt 


INSTRUCTIONS FOR WORKING DOYLY NO. 3 . 


The linen should be an inch and a half larger than the engraving. Cut 
off twenty sections of lace, and baste upon the linen forming the outward 
row of lace. Then cut four pieces, having three sections in each, and baste 
on, forming the four circles seen in the middle of each side and end of doyly. 
Now, cut four pieces, having but one section in each, and baste one at each 
inside corner, as shown in the engraving. You then button-hole the outside 
and inside^edges of the lace, as described in Doyly No. i ; and, for each of the 






















































































































circles, lay down a foundation of eight bars, and fill in each circle with the 
stitch illustrated at the upper end of the engraving. The needle is passed 
under the first thread and over the next, under the next, over the next, and so 
on all around the wheel, repeatedly, until it is half filled. Then fasten the 
thread neatly in one of the bars. Cut away the linen from the back of the 
circles and lace, and from the button-hole edges outside. Of course, the lace 
may be arranged in many other forms besides those illustrated. 





Queen ®j\nne Qm€>t*oislery. 


■<§/ r '73~\©‘ 








HE lovers of this recently revived work must realize the care involved 
in order to get the explanations so explicit that they will meet all diffi¬ 
culties. It will be readily conceded that our plan of illustrating all 
the stitches in a large and partly completed pattern, is superior to 
any heretofore attempted. The stitches illustrated cover such a 
variety that they will suffice for innumerable other designs that can 
be beautifully represented by this style of work. The most popular designs now 
are mostly conventional. Some consist of arabesques, discs, scrolls, etc. Our 
illustration represents a throe, picture, or easel, drape worked upon pea green 
surah silk, worked with three or four shades of Royal Society embroidery silk, in 
sage green tints. The full size perforated pattern is 22 x 12 inches (twenty-five 
cents), thus covering the full width of the surah silk. An enlarged pattern can be 
made from this engraving by using the Smithograph. Having stamped the design 
upon the silk, you place it in a large oblong frame and begin at the center and 
make the twisted sorrento wheel, using the lightest shade of silk. First lay down 
eight branches, carrying them from side to side of the wheel (see illustration). 
Now fasten the branches where they cross each other at the center. This done. 



























Queen eKnne Gm&roicjerip - * 103 

bring the needle up again at the center and pass it under the branch, draw 
the silk fairly tight, and then take a sort of button-hole stitch over the same 
branch. Now, pass the needle under the next branch and throw a button-hole 
stitch over this one in the same way. This gives each branch a corded appearance. 
Repeat this stitch on each of the branches until the wheel is filled to the desired 
width. Notice carefully the position of the needle in the engraving. Having 
completed the wheel, you fill in portion marked A with a series of evenly made 
cross bars, using the same shade as for wheel. You then cross them with five 
equally divided bars, two of which reach from end to end. Now, thread a needle 
with the darkest shade of silk, and fill in with the finishing stitch, illustrated at 
Fig. 3. Bring the needle up at 1 and insert at 2, and bring out on top of the thread 
at 3, thus forming the letter W. You then go over the centers of each long stitch 
with a short fastening stitch, as shown at 5. That portion of the design marked B 
is finished in the same stitches and with the same shades of silk. Having finished 
A and B, we will direct our attention to C. Thread your needle with the darkest 
shade of green, and lay a foundation of eight long horizontal stitches (see engrav¬ 
ing), being careful that they are the same distance apart, for the beauty of the 
work consists largely in making the various stitches regular. You now make a 
series of fastening stitches along each bar, using the medium shade of green. 
Notice that the fastening stitches on each bar alternate on each ; thus those on bar 
6 slant in the same direction as those on 8, and those on 7 given the same direc¬ 
tion as 9, and so on. The part marked D is made in the same way, using the 
same shades. Now, begin part E with the honey-comb stitch, using the medium 
shade. The needle is brought up at 1 and inserted at 2, and brought out on top 
of the thread at 3, thus forming a loop when the silk is drawn through. Thisdone, 
insert the needle in the middle of the upper thread, forming the next square, and 
bring it out on top of the thread, as illustrated, and so on from side to side. That 
part marked F is done in the same way, and with the same shade. Now, thread 
your needle with the lightest shade and work the outside outline of parts marked 
G, H, and L with the rope stitch, which resembles the outline stitch, except that 
the needle is carried back farther and inserted so as to cross the outline of the 
pattern, instead of running directly with it, as it is the case with the outline stitch 












104 « -- @ofumltaii 

(see G). This gives it a corded appearance. See stitch marked R. Now, thread 
needle with the darkest shade and work the inside outlines of G, H, and L 
with the chain stitch. But, instead of inserting the needle in the center of the last 
loop, insert it just outside of the loop (see stitch marked Ch.) The parts I, J, and 
K are worked in the single brier stitch, illustrated at I. Use the darkest shade for 
one part of the outline, and the lightest shade for the other. 

The stitches in the other half of the pattern are simple straight stitches that 
will need no other explanation than to look at the engraving. The parts opposite 
those worked are to be done in the same stitches. The narrow arms can be finished 
with the rope, brier and chain stitches, as already described. Having completed 
all the portions of the design, your next work will be to remove the lower part of 
the Surah silk from the frame and prepare to make a fringe by fray ng out about 
four or six inches of the silk and tie in the manner illustrated. Our illustration 
shows two methods of tying fringe. A description of the knot used is illustrated 
at the numbered strands, so that the method of tying can be readily learned by 
studying each stage of the knot. Notice that the strands 2 and 3 are held straight. 
Now, pass the strand No. 1 loosely over 2 and 3, then take strand No. 4 and pass 
it over strand 1 and under 2 and 3, and up through the loop at left side; draw it 
up loosely. Then take the strand at the right, pass it over the two center ones 
loosely ; take the left strand, pass it over this, under the center ones and up 
through the loop at the right side; draw it up so as to meet the first knot. These 
form a Solomon’s knot, of which a row is made all across the silk. In the lower 
knot marked A, four of the larger strands, formed by tying the first row, are tied 
in the same way. The pattern B is made by knotting two strands from each of the 

four, after the first row is made clear across the silk. By using half of the pattern, 

- • 

it makes a pretty toilet cushion cover, using chamois for the ground work, and 
working it in Roman Embroidery, using the same shades of silk. In that case you 
would button-hole the edges of the design, having the purrled edge of the stitch 
next the inside portions which are to be cut away. After the button-holing is done 
the spider-web stitches are worked from point to point of the button-holing, and 
when the completed work is spread over pea green Surah silk, or Satin, the effect 
is pretty, indeed. 



























































































































































































































































































































































































































































































































































































SPECIAL REDUCED WHOLESALE PRICE-LIST. 


Any of our Patrons receiving this Price-List, can order these goods at the following prices. 
We have added this supply department to our business for your benefit, to enable you to make 
a greater success of our Art Publications, and do the work therein described at about one-half 
the outlay. We hope you will not withhold any order or correspondence through fear of 
troubling us. We have agreed to supply our subscribers materials at special prices, hence, if 
you are a subscriber, feel at perfect liberty to order. Do you ask, “ How can we do it ?” 
Well, it is this way: We sell thousands of our “ Art Guides, ” when people know that they 
can get the materials for the work, at special’prices and get them in the right shades. Our 
profits come in on the thousands of books we sell, and not on the materials. Our aim is not 
to unjustly interfere with any dealers. Our opinion is, that as our Art Books largely create 
the demand for the materials enumerated, we have the right to supply that demand at 
lowest prices, and no one should feel hurt. Cash must be sent with the Orders. We pay post¬ 
age on goods. 

N. B.—Prices for Fancy Work Materials frequently vary, but our patrons can count 
upon getting them at lowest rates. Send all orders to J. B. Young & Co., Buffalo, N. Y. 


Brainard & Armstrong’s shade card, from which to select embroidery, silk filo, arrasene, rope silk. .12 cents each. 

Right shades of rope silk, or wash silk for making horse chestnut doyfie [p. 90]. 8 cents. 

Same design stamped on best satin damask with materials for making. s . .15 cents. 

Wash silks, in white or green, for clover leaf doylie [p. 91]. 8 cents. 

Same design stamped on damask, with materials for making. 20 cents. 

Water liiy doylie (flower and leaf combined), stamped on damask, 8-inch. 15 cents. 

Perforated pattern of water lily doylie (8-inch)...-.•. — 5 cents. 

Large heart-shaped pansy design for toilet cushion, 11x11 perforated pattern. ..15 cents. 

Perforated doylie patterns of pansy, rustic clover, or Roman cushion, each. 5 cents. 

Perforated pattern of pansy, arranged same as maple leaf study [p. 86].10 cents. 

Pin-cushion design for Roman embroidery stamped on brown Roman cloth 10x10.15 cents. 

Perforated pattern for large toilet cushion (square), for Venetian Queen Anne or Roman.embroidery.10 cents each. 

Same design, 10x10, stamped on damask or Roman cloth.....20 cents 

Honiton lace illustrated in design [p. 95]...13 cents per yard 

Pin-cushion design, on p. 95, having the lace basted on linen lawn, ready for button-holing.35 cents. 

Japan wash silk for above cushion in honiton embroidery, in white, yellow or pale green. 10 cents. 

Lace basted on linen lawn for doylies, 1, 2 and 3. 25 cents each. 

Japan wash silks for working doylies, 1, 2 and 3 [p.97,99 and 101]..... Scents. 

Embroidery materials (4 shades) for making Queen Anne embroidery picture drape.:. 15 cents. 

Perforated pattern, twice the size of illustration [p. 105] picture drape. 15 cents. 

Royal embroidery silk (4 shades) for making large size. 40 cents. 

Good quality of Surah silk (pea green) for above picture drape.90 cents per yard. 

Selected filo for working thistle centre piece [p. 75] 19x20. : ...40 cents. 

Selected shades of filo for working clover centre piece, 14x14, [p. 78], 9 skeins..36 cents. 

Selected shades of filo for working orange blossom centre piece, [p. 84] round or oblong, 16x16...36 cents. 

Selected shades of Japan wash silk for Venetian toilet cushion [p. 85].....'..35 cents. 

Right shades of filo for double folded bread tray, 9x9, [p. 71]...15 cents. 

Same shades for large size, 18x18...25 cents. 

(For prices of these designs stamped on Art Linen, see closing paragraph of instructions on each.) 

Autumn tints of filo for working maplel eaf study, 11 shades, [p. 87J..... ..25 cents. 

Same shades sufficient for maple leaf lamp mat or large doylie...’...20 cents. 

Perforated pattern maple leaf, leaf circular, lamp mat or doylie.. .10 cents. 

Same tinted on Art Linen ready for long or short stitch..•_-..35 cents. 

Same stamped on Art Linen not tinted.......,.18 cents. 

Colored maple study [p. 87] tinted on stripe of bolting for picture or easel drape... 45 cents. 

Pansy design [p. 64] partly painted on best moleskin (velvet included), ready for beginner to fill in .$125 each. 

(The other studies on pages 60, 62 and 66 at same price.) 

Best quality of moleskin for painting (portion of yard same rate)..$2.25 per yard. 

Bolting cloth, for picture or easel drapes, etc....., .$1.00 per yard, 

Japan wash silk.large skeins 3 cents per skein, or 12 for 35 cents. 

Outline wash silk.:. large skeins 3 cents per skein, or 12 for 35 cents. 

Filo floss, Roman floss or rope silk.4 cents per skein, or 12 for 45 cents. 

Best American Arrasene, 12cents per dozen, No. 1 chenille, for veining.18 cents per dozen. 

Embroidery floss, in skeins or quills.1 cent each, or 10 cents per dozen. 

Fine linen for doylies, etc., 30 inches wide.80 cents per yard. 

Fine satin damask for lunch clothes, doylies, 72-inch... ; . .$1.60 per yard. 

Satin damask, 36 inches...].82'cents per yard. 

Art linen for centre pieces, tray cloths, 27 inches. 65 cents per yard. 

Sachet linen, for pin-trays and comb and brush-trays, 27 inches wide.70 cents per yard. 

Brown linen, for Roman embroidery, 27 inches wide. ,70 cents per yard. 

Silk tassels........18 cents per dozen. 

Silk fringe.. ..12 cents per yard. 

Pin-trays, stamped on satchet linen, ready for working violets with border...15 cents each. 

Comb and brush trays, stamped on satchet linen to match veil case...25 cents. 

Veil case, design of violets, with motto (3 pockets) stamped on linen.35 cents. 

Selected shades of violet and green filo for veil case..15 cents. 


Don’t fail to send 75 cents and get Mr. Young’s choice selection of 30 large World’s Fair 
perforated patterns. The finest in the world. The product of leading Art Schools. 

Have you any choice pieces of Fancy Work of which you would like a perforated pat¬ 
tern ? If so, lay a piece of white paper over the worked piece and with a piece of new black 
leather rub over the paper and you will have a fair outline from which J. B. Young & Co., of 
Buffalo, N. Y., will make and send you a perforated pattern. A pattern measuring 20 inches, 
would cost 18 or 20 cents. Perforated patterns made from outline sketches or colored studies 
for painting, at same rate. Patterns enlarged from smallest engravings seen in art papers, 
etc., at modearte prices. Improved Pantograph for copying or enlarging small embroidery 
patterns, etc., to any size, reduced price 35 cents. 


BOOKS THAT EVERY LADY SHOULD HAVE. 

“ Mexican Drawn Work,” —Kate Foster’s new book of 50 designs, mailed, 30 cents. 

“ The Latest Book on Fancy Work, Knitting and Crocheting,” 128 pages, illustrated, 20 c. 

A few more energetic persons can make from $15 to $20 per week r exhibiting our Art 
Samples and taking orders for “Columbian Decorative, Art, and the “ World’s Fair Dollar 
Outfit of Perforated Patterns. Over 30 large patterns selected from the World's Fair Exhib¬ 
its and leading Aid Schools. Send 50 cents for canvassing outfit. Outfit mailed to holders of 
this slip for 75 cents. 


J. B. ^OUNG & CO., 

225 Allen Street, Buffalo, N. Y. 




























































ALL SCHOOLS OF ART NEEDLEWORK USE THE 

Brainerd & Armstrong Co/s 

WASH SILKS, “ASIATIC DYES.” 


WILL Wash." 


“Brainerd 

A rmstrong's 
Wash Silks 


IF YOU DO ANY EMBRIODERY 
1 WORK, ask to see “ Roman Floss,” 

made by the Brainerd & Armstrong Co. only. 
The most popular thread for Embroidery pur¬ 
poses, and endorsed by all Art Needlework 
Societies. 


REMEMBER 


STRONG CO 

TAGGED WITH THEIR NAME 


“ROMAN FLOSS” is made 
by theLBRAINERD & ARM- 

only, AND EVERY SKEIN IS 


WE ALSO MAKE 


✓ 


FILO SILK FLOSS, 
Hope Silk, 

Twisted Embroidery, 
Medheval Silk, 
Couching .Silk, 
Outline Embroidery, 
Asiatic Filling Silk, 
Soie Naturelle, 


Embroidery Silk in Skeins, 
“ “ on Quills, 

Embroidery Silk Shaded in 
Skeins, 

Embroidery Silk Shaded on 
Spools, 

CROCHET SILK, 

Victoria Knitting Silk, 


1$. & A. Knitting Silk, 

Victoria Ribbon Chenille 

(Arrasene), 

No. 1 Vienna Chenille, 

Crown Dress llraid, 

Underwear Silk, 

Flannel Silk, 

Filling Silk, 


Purse Twist, 

Machine Silk, 

Art Needlework Fabrics, 
Figured Terry, 

Art Satin, 

Counterpane Goods, 

Silk Sheeting, 

Silk llrocades, Etc., Etc., Etc. 


Send for illustrated Catalogue to THEJB. <& A, CO., 71 Union St., New London, Conn, 


Be sure the Guarantee Tag of the Brainerd & Armstrong Co. is on every skein of wash silk you buy; otherwise your time 
and money spent on embroidery work may be lost. “An ounce of prevention is worth a pound of cure.”—(Mention this book.) 



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